USA Today's Scores

  • Movies
  • TV
For 3,335 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Searching for Sugar Man
Lowest review score: 0 Idle Hands
Score distribution:
3,335 movie reviews
  1. The opening frame of Jonah Hex should say: "Caution: Made expressly for the male teen demographic. Not suitable for anyone of any age who prefers movies with coherence, an original plot or characters they give a hoot about."
  2. What we get is simply another opportunity for Schwarzenegger -- who seems to be in perpetual Terminator mode -- to flex his muscles.
  3. This road-trip piffle is basically a male version of a chick-bonding flick.
    • USA Today
  4. If only the story that surrounds this watchable heroine were as well-stacked.
  5. Actor John Corbett, so clean-cut in "My Big Fat Greek Wedding" and "Raising Helen," goes surprisingly scruffy here as someone who apparently studied music under Grizzly Adams.
  6. The martial-arts sequences take this prosaic thriller to a higher level.
  7. The actors take a back seat to computer-generated demonic images and apocalyptic special effects.
    • USA Today
  8. Imagine a movie so broadly conceived that it was written, directed and all parts were played by Charo — billed in her '70s heyday of Love Boat gigs as the "Cuchi-Cuchi Girl." That's what you get here.
  9. The fantasy segments, played up in trailers, get bogged down amid the ho-hum tale of a loser making good.
  10. The movie tries to be both comical and touching, as befitting the coming-of-age genre. But it feels forced, derivative and sometimes sappily sentimental.
  11. David Mamet handled such small-town whimsy better in 2000's "State and Main." Hackman could play his role in his sleep, but Romano IS asleep. Result: Welcome to Mildport, and that's being kind.
  12. This is an amusing vehicle for Gibson. At least this time, the bird doesn't fall off the wire. [10 Aug 1990]
    • USA Today
  13. A substandard ebony-and-ivory buddy pic.
    • USA Today
  14. Yet another foray into unnecessary 3-D, is a rehashed mishmash of Jonathan Swift's 18th-century classic. Mostly, it's a vehicle for Jack Black's zany humor.
  15. You've never seen a movie like Sucker Punch. And depending on your entertainment preferences, you may not want to.
  16. Love Happens is an oddly upbeat title for a movie that is surprisingly sad.
  17. Kid's tone is off 100% of the time. The young actors are irredeemably bland, and two of the adults (Michael Des Barres' bank president, James LeGros' Storm Trooper-like security guard) are hammy enough to make James Brown seem controlled.
  18. Pytka may know how to push fizzy water, but he certainly can't make a punch line sparkle. [21 Aug 1989]
    • USA Today
  19. RV
    Unfunny, sappy and massively predictable.
  20. All the obvious elements combine to manipulate the audience into a weepy time at the movies -- again.
  21. In this Amityville, the performances are bad, the special effects ho-hum, and it's not even particularly scary.
  22. The only good thing about Impostor is the appropriateness of its title for a film posing as the first 2002 release.
  23. It's one bad apple.
  24. This is not only unsuitable for children, it's a colossal waste of time at any age.
  25. A contrived, unpleasant and very drawn-out affair.
  26. For added heehaws, the normally dependable Nick Swardson comes along to act the ass and delve into some of Sandler's more nuanced scatological humor.
  27. This is about Meg. Only about Meg. Meg in the Middle.
    • USA Today
  28. Evil's one strong presence is lead Milla Jovovich -- and not because the script gives her supercop/soldier anything interesting to say.
  29. It may sound like a Peter Pan spinoff, and Dear Wendy does involve lost boys in a stagey setting, but the film is closer to "A Clockwork Orange" than a tale of lasting youth.
  30. Though it's meant to be pulse-pounding, After Earth is a lethargic slog.
  31. The only possible reasons to do this concept again is sheer laziness (it's easier to borrow an idea) and pure greed (it's cheaper to borrow an idea). [2 April 1999, Life, p.6E]
    • USA Today
  32. Don't buy a ticket for this one, even if the theater is having a fire sale on Raisinets.
  33. There's something about a plus-size floral housedress that brings out the best in many male comics, and Lawrence is no exception.
    • USA Today
  34. Although it's reasonably well-acted and offers a few certifiable jolts, feels awfully familiar.
  35. Though it has flashes of promise, Bones traces the footsteps of its fantasy film predecessors too closely to blaze anything close to an original narrative.
  36. In Roy Orbison terms, enduring this movie is like working for The Man.
  37. It's for people who have always wanted to see Willie Nelson ("Uncle Jesse") lob Molotov cocktails on a freeway and smoke weed with Joe Don Baker, who plays Georgia's governor.
  38. While Basinger admirably invests her role with deep passion and looks splendid in her Kenya khakis, the true story she stars in is disappointingly tame and dramatically inert.
    • USA Today
  39. This junior chick flick merely reinforces superficial clichés one associates with female teens: petty fights, intense highs and lows, and self-absorption.
  40. As far as acting goes, neither Olsen is ready for Euripides' Medea, yet each projects well enough in their shared big scene.
  41. With its excessive sleaze and gross-out gags, Soul Plane overshoots effective spoofery. Mostly it's a foul, eye-rolling experience.
  42. Sleepover might appeal to 11- and 12-year-old fans of slumber parties, but it likely will leave their parents stifling a few dozen yawns.
  43. The tone is consistent, but consistently uneventful. [06 May 1994]
    • USA Today
  44. Where it should be light and graceful, Leap Year trips and thuds.
  45. While the film comes to a mildly clever conclusion, it feels like a bottle of vintage champagne that never gets to pop its cork at midnight. All that fizz potential wasted. [26 Feb 1999]
    • USA Today
  46. Trashy and disturbingly violent yet fairly zippy and amusingly cast.
  47. Face it. Parody comedies are no longer a laughing matter. [25 October 1996, p.5D]
    • USA Today
  48. The movie goes wrong from the start.
  49. There's nothing very wise about The Brothers Solomon. It's a moderately funny premise in search of some real laughs.
  50. It's a pretty twisted concept, bordering on offensive. But mostly it's just not funny.
  51. Aspires to be a cinematic "Sex and the City," but it's more like South Park Goes West.
  52. Another invigorating, extremely raunchy sports movie from Ron Shelton .
  53. This remake is shorter than its predecessors, a welcome earthly reward.
    • USA Today
  54. This leaden teen comedy is meant to be lively, but it's curiously bland.
  55. It plays more like a "21 Jump Street," full of pretty people and a thumping soundtrack but offering little in the way of something to say.
  56. The biggest mystery about Repo! The Genetic Opera is why the grisly Goth-horror musical is opening the week after Halloween. The second-biggest mystery is why this unfunny, unscary, preposterous bloodbath about organ transplants is opening at all.
  57. Stretching what was a cute concept to the breaking point.
  58. Angelina Jolie slums her way through Beyond Borders, a film that telegraphs its plot and then drags ploddingly, its humane spirit obscured by an inane script and Jolie's implausible character.
  59. It's hard to know just who the intended audience is: The movie is too surreal and bawdy for young kids and too silly for anyone older than 25.
  60. Deafening, deadening and about two hours too long, Extinction would mark the weakest installment yet of the 7-year-old Hasbro franchise — if the previous three movies were discernible from one another.
  61. So much luck is pressed with an absurdly overblown finale that 60 seconds will likely be Swordfish's shelf life after a couple of noisy opening weekends.
  62. Though it has some mildly amusing moments (mostly in the visuals accompanying the novel's narration), Alex & Emma is disappointing, neither very romantic nor very comic.
  63. A blah romantic comedy that has the bad taste to force the heavenly Ashley Judd into being an insecure, date-desperate, quirky career gal.
  64. A wan version of the same old tired serial killer story, despite its updated milieu -- cyberspace.
  65. We had hoped for just a funny movie, but instead we get some laughs and plenty of yawns.
  66. De Niro's scowl and Murphy's sass are inherently funny, though in this case both actors are forced to call in moviegoers' long-established goodwill.
  67. Despite an unlikely setting and a moderately intriguing premise, Chernobyl Diaries proves to be a generic horror flick where young tourists are systematically victimized in unoriginal and not terribly scary ways.
  68. Sitting through this movie is worse than being locked in a room with a continuous loop of "Nip/Tuck" playing on a jumbo screen.
  69. Though not nearly as raucously funny as the leads in "Wedding Crashers," Nick and Shawn resemble junior versions of the one-track-minded womanizers played by Vince Vaughn and Owen Wilson.
  70. Max Payne couldn't be more appropriately named. Sitting through this stylish-looking but derivative, vacuous and bullet-riddled movie inflicts maximum pain.
  71. The computer animation of the monsters here is a herky-jerky cartoon blur that is anything but scary.
    • USA Today
  72. It's an improvement on some of Perry's other films that strike a heavy-handed moralistic note. And it lacks the silly slapstick humor of his Madea movies.
  73. You have to work hard to make an African vacation seem unpleasant. And Adam Sandler nearly pulls it off in Blended.
  74. A pitiful update that saddles poor Cedric the Entertainer with the unenviable task of taking over Jackie Gleason's premier creation, Ralph Kramden.
  75. Lucky Numbers is anything but lucky for stars John Travolta and Lisa Kudrow.
  76. Superficial and lurid, Perfect Stranger is the cinematic equivalent of spam and should, like those trashy messages, be avoided.
  77. Misguided raunchfest.
  78. Is there a word that means the opposite of Cowabunga? If so, that's the word for the charmless, dull and derivative new take on the Teenage Mutant Ninja Turtles.
  79. Silly action sequences grow tedious and rarely blend with the wannabe madcap comedy.
  80. That's My Boy is puerile, mean-spirited and charmless.
  81. Only those with paranoid fantasies of an en masse invasion on American soil will find Red Dawn remotely powerful. The concept should have been updated to allow for more complex and surreptitious kinds of warfare.
  82. A glossy wisp of a cautionary tale.
    • USA Today
  83. Only the makers of "Freddy Got Fingered" might crack a smile because it now has competition for worst movie of the year.
    • USA Today
  84. Robbins' performance as Winston is the best thing in the movie.
  85. Far from redundant. That's because (Kirk) Wong deftly balances the outrageous stunts. [24 April 1998, p. 6E]
    • USA Today
  86. Filmmakers must have been tripping pretty badly when they made High School, a flub that's about as lucid as a stoner at a spelling bee.
  87. An American Affair is sordid business blandly portrayed and not worth meddling with.
  88. No comedy this vile should be brazenly foolish enough to give itself this title. [25 November 1998, p. 3D]
    • USA Today
  89. Envy is in the unenviable position of saddling two of Hollywood's most talented comic actors with a script that doesn't do them justice.
  90. Doesn't make the movie worth watching -- even if you're monstrously bored.
  91. Life is a crock -- or something like it.
  92. Deception is not the cool, noirish thriller it tries to be. Despite a cast that includes double-crossers Hugh Jackman and Ewan McGregor and Michelle Williams caught in the middle, the film is a yawn.
  93. The conclusion is a sweet bit of frosting on an otherwise unremarkable confection.
    • USA Today
  94. While compellingly watchable, it's as overheated as Cage-the-actor's 1991 soft-core (and direct-to-video) "Zandalee," also set in New Orleans.
  95. The picture is all Lawrence and Zahn, whose dynamics get something going, though not enough (please!) to spark a buddy sequel.
  96. Director Kevin Smith's tweets, jokes and sharp commentary after being denied a seat aboard a Southwest Airlines flight because of his girth were a lot more engaging than Cop Out, his new movie.
  97. Remarkably, the plot has much in common with "Hellboy II: The Golden Army," yet that bundle of fun has enough vision to make even its Barry Manilow interlude seem appropriate.
  98. It's an unholy mess.
    • USA Today
  99. Soon, the audience feels its own sense of despair -- for a movie that might have worked but didn't.
  100. Lurching back and forth through time, Winter's Tale tries to blend the supernatural and the sentimental, with a synchronous nod to elements of New York history. But this would-be magical romance flounders, hitting only dissonant chords.

Top Trailers